When People Die:Stories from Young People

When People Die: Stories from Young People is a comic that tells numerous stories about death and resilience from a group of young people. The comic helps readers gain different and better perspectives on grief and what grieving means for young people. These stories and scenarios have been written by a group of young people selected from Children’s Hospices Across Scotland (Robin House), HMYOI Polmont, and Richmond’s Hope, and put together by the team at the Dundee Comics Creative Space. This comic will help people such as school teachers, guidance counsellors and anyone who reads it to learn more about how it feels to be in the position of a grieving young person, and how to act in situations that may come up with a grieving child

The Word-Music Relationship in the Gregorian and Old Roman Offertories

Differences between Gregorian and Roman chant are especially evident in the solo verses of the offertory. The contrast becomes pronounced among offertories assigned to Lent and Paschaltide. A central distinction between offertories of the two traditions is the relationship between melody and text. Eight examples illustrate some of these differences and explore their implications for understanding the relationship between the two dialects. The melodies underwent further development in both dialects after their separation. The sensitivity to the content of the words in some Gregorian offertories is best viewed as a token of the emphasis on literacy in Frankish culture. The Roman tradition developed along different lines, toward an extreme melodic economy upon the aural features of the text

Processional liturgy in the urban space of seventh-century Tarragona

This work was supported by Leverhulme Trust [grant number INT2016-034]; Leverhulme-funded International Network "Processional Chants in Early Medieval Iberia: Liturgy, Melody, Continuity" (2017-2021); a Leverhulme Trust International Visiting Professorship, which Eduardo Carrero Santamaría held at the University of Bristol (2021-2023), and the UK Arts and Humanities Research Council Standard Grant "Cultural Identity, Evolution and Transition in the Cults of Medieval Iberian Saints" (2019-2024). We gratefully acknowledge the financial support of the Leverhulme-funded International Network "Processional Chants in Early Medieval Iberia: Liturgy, Melody, Continuity" (2017-2021); a Leverhulme Trust International Visiting Professorship, which Eduardo Carrero Santamaría held at the University of Bristol (2021-2023), and the UK Arts and Humanities Research Council Standard Grant "Cultural Identity, Evolution and Transition in the Cults of Medieval Iberian Saints" (2019-2024).El Oracional de Verona, copiado en Tarragona a principios del siglo VIII, contiene rúbricas procesionales que aluden al movimiento litúrgico entre iglesias el domingo de Carnes Tollendas, al comienzo de la Cuaresma. Las rúbricas mencionan tres lugares: Santa Jerusalén, San Fructuoso y San Pedro. Este ensayo examina las rúbricas procesionales junto con la arquitectura urbana de la Tarragona visigoda para situar estas procesiones lo más cerca posible de su contexto topográfico. También consideramos el carácter probable de los cantos entonados durante las procesiones, basándonos tanto en los textos oracionales de Verona como en los cantos procesionales del Domingo de Carnes Tollendas conservados en manuscritos posteriores. Esta experiencia sonora y espacial única señalaba el comienzo de la Cuaresma a toda la ciudad, cristianizando el espacio urbano.The Verona Orational, copied in Tarragona in the early eighth century, contains processional rubrics hinting at liturgical movement between churches on Carnes Tollendas Sunday at the beginning of Lent. The rubrics mention three places: Holy Jerusalem, Saint Fructuosus's and Saint Peter's. This essay examines the processional rubrics in tandem with the urban architecture of Visigothic Tarragona to place these processions as nearly as possible in their topographical context. We also consider the likely character of the chants sung during the processions, drawing both on the Verona Orational texts and the processional chants for Carnes Tollendas Sunday preserved in later manuscripts. This unique sonic and spatial experience signalled the beginning of Lent to the entire city, Christianizing the urban space